House of Gucci । Reviews

[franminervini 14,917]

Omg it's getting full! The fullest I've seen a screen since the pandemic... (I have come 7 times to the cinema this month lol)

[Ronk 14,082]

16 hours ago, Shipper said:

Tbh, I don't see parents bringing their kids during Thanksgiving, or any weekend for that matter, to see a 2 and a half hour of Gucci empire drama/biopic even if it was PG-13.

Exactly.  Kids wouldn't enjoy it at all and parents wouldn't take them to see it regardless of the rating.

When I was a kid my aunt took my cousin and I to see a movie called Boy on a Dolphin because of the title.  We were 13 years old.  It turned out the movie was not about a boy on a dolphin, but about a statue of a boy on a dolphin.  For a kid it was terribly boring and we couldn't wait to get out of there.  I'm sure parents would know what HOG is about generally and there is no way they would take a kid no matter what the rating.

[mamo 15,721]

27 minutes ago, franminervini said:

Omg it's getting full! The fullest I've seen a screen since the pandemic... (I have come 7 times to the cinema this month lol)

the screening i'm attending tonight is completely sold out! 

[CyanDante 5,148]

The only review that matters -

[franminervini 14,917]

Oh wow the movie was so good and Gaga... speechless. I couldn't recognise her.

[Meat 18,960]

4 minutes ago, franminervini said:

Oh wow the movie was so good and Gaga... speechless. I couldn't recognise her.

Did you cry at the photo album scene? 

[franminervini 14,917]

1 minute ago, Meat said:

Did you cry at the photo album scene? 

No i never cried but I laughed a lot and I was so impressed with Gaga... 

[Dennis 7,914]

 

[LateToCult 36,438]

1 minute ago, Dennis said:

 

Manifesting HoG will be the Bohemian Rhapsody of 2022. 

[HookerOnAChurch 6,637]

28 minutes ago, Meat said:

Did you cry at the photo album scene? 

i didn't cry but i feel a lot of empathy for Patrizia.

[Gaby15 8,336]

Gaga was unrecognizable in the movie and I think she was great. Jared Leto was very good, but his character seemed exaggerated. Al Pacino is also good, Adam Driver was average to me, though that may be because of the role.

The film caught my attention all along, but it is too short, the scenes change too fast, and in some places they have probably cut out entire scenes that would better explain what happened later. I liked it overall, though I like serious movies.

[ElectricChapelR 1,353]

Just came back from the cinema.

I absolutely loved it! It was soooo funny and I'm living for the s*x scene and the scenes with Salma Hayek.

 

[LateToCult 36,438]

Gonna watch it again. The positive box office news has motivated me. 

[Brainiac 10,353]

Going to see it tonight! Can't wait!

[Queen Bitch 10,513]

From The Hollywood Reporter:

It pains me to say these words about anything, but House of Gucci is begging to be a Ryan Murphy series. At least then we might actually know whether its frequent lurches into acidic camp were intentional. Ridley Scott’s film is a trashtacular watch that I wouldn’t have missed for the world. But it fails to settle on a consistent tone — overlong and undisciplined as it careens between high drama and opera buffa. “I had no idea I married a monster,” hisses Lady Gaga as the embittered Patrizia Reggiani, once her marriage to fashion scion Maurizio Gucci has soured. “You didn’t,” shoots back Adam Driver in the latter role. “You married a Gucci.”

Say what you will about the Ryan Murphy factory, but at least he dives in with an unstinting commitment to lurid excess, making him an ideal fit for real-life stories of murder most foul and fashionable. (Just watch the insane Judith Light episode of The Assassination of Gianni Versace for a prime example.) Scott seems oddly unsure of himself here, not helped by the clunky dialogue of Becky Johnston and Roberto Bentivegna’s pedestrian script. Nor possibly by the challenges of shooting a decades-spanning, globe-trotting ensemble drama during a pandemic. Even less so by a cast with little cohesion but no shortage of scenery chompers.

In a performance more often than not dialed up to 110, Gaga puts on a transfixing show, bringing fierce charisma and ferocious drive to Patrizia, an accountant at her family’s trucking company who married Maurizio Gucci in 1972 and had him gunned down by a hitman in 1995. Even when she’s just lighting a cigarette or stirring an espresso, Gaga hurls herself into the character with savage gusto. Whenever she’s onscreen, the movie bristles with electricity. By contrast, Driver — in his second consecutive project for Scott after The Last Duel — is quite subdued, crafting a complex character by more nuanced means. That puts the two leads pretty much in different movies.

I guess Gaga and Pacino can play the Italian American card, but really, House of Gucci should carry the equivalent of an animal welfare disclaimer, stating: “No Italians were involved in the making of this film.” It’s a hellhole of wobbly accents.

That said, it’s never more fun than when Gaga’s Patrizia is scheming with her friend Pina (Salma Hayek), a low-rent TV psychic and cat lady, to claw back her dwindling influence within the Gucci family and, eventually, to ice Maurizio. Their spa-day scene, in which grave matters are discussed in mud baths, is a hoot. “When we get back from the Caymans, we can do a nice evil eye on him,” suggests Pina, initially trying to put the brakes on the murder plan. The delicious inside joke of Hayek being married to François-Henri Pinault — CEO of Kering, the French luxury fashion conglomerate that now controls Gucci — will escape no one.

From her first appearance, it’s clear the movie belongs to Gaga as Patrizia sashays across her father’s trucking depot toward the office, poured into a snug skirt suit and heels, soaking up the wolf whistles and leering comments of the drivers with evident pleasure. She meets Maurizio at a ritzy party in disco-era Milan and has stars in her eyes the minute she hears his surname.

Based on Sara Gay Forden’s 2001 book of the same name, the script is reasonably sharp in exploring matters of class, exposing the Gucci clan as self-appointed royalty rather than legitimate aristocracy. Rodolfo finds Patrizia acceptable as a plaything for his son, but immediately judges her to be a gold digger when Maurizio ushers her into the family. That happens in a cheeky cut from the two of them madly humping on Patrizia’s office desk to her walking down the aisle in an elaborate bridal gown, mystifyingly accompanied by George Michael’s “Faith.” Because it’s a Catholic wedding, maybe?

Given that this is a movie and not an ’80s miniseries, it’s too cluttered with busy plot tangents that keep taking us away from the macaroon of Patrizia and Maurizio’s crumbling relationship. Or maybe it’s just that the film’s energy plummets whenever Gaga’s off-camera.

Sure, it’s moderately interesting to learn of Aldo’s tax-evasion travails and the corporate chicanery that nudges him and Paolo out of the company when Maurizio partners with Bahrain finance group Investcorp. But Scott can’t squeeze much dramatic juice out of these developments. The same goes for the makeover after Gucci has become démodé and Texan wunderkind Ford (Carney) is brought in to revolutionize the house style — complete with a mercifully brief appearance from a bad Anna Wintour impersonator.

Despite frantic snatches of opera lobbed in among the random ’80s tracks by Eurythmics, David Bowie, Donna Summer, Blondie, etc., a sluggishness frequently creeps into the film, even when it should be gathering suspense as the anticipated (and anticlimactic) shooting of Maurizio approaches. Scott, who was first attached to the project in 2006, seems convinced he’s making something akin to The Godfather. But instead the action keeps sliding into inadvertent campiness, never more so than when Patrizia and Pina are negotiating with the hitmen.

Gaga, who commands attention in a vehicle much more solely dependent on her than A Star Is Born, where the spotlight was shared equally with Bradley Cooper. Her work here may be chewy, but she’s enthrallingly alive in the role, bringing heat to Patrizia’s hunger and growing desperation in an otherwise muddled movie that seldom ignites